Description
Thomas Moran made more than eighty etchings during his career. Many of these etchings were of original subjects; some were etched reproductions of his own work and the work of other artists. The Empty Cradle was based on a photograph made by his western travelling companion John K. Hillers. Moran’s etchings exhibit the full extent of his creativity and inventiveness. He owned his own press and employed a wide variety of tools and techniques, various proofs reveal reworkings and a careful building of depth and tone with successive states. Moran’s etchings of original subjects were based on sketches made in the field: unlike his wife, Moran never etched directly from nature. Each won wide acclaim for their etchings, and in 1881 they were among the twelve Americans elected as “original fellows” of the Painter-Etcher’s Society of London. John Ruskin admired their work, calling Moran’s “The Resounding Sea” the “finest drawing of water in motion that had come out of America. Throughout the 1880’s Moran was widely exhibited, winning honours, awards and high critical praise. The etchings also enjoyed commercial success, with various editions selling out shortly after their publication.
ETCHINGS:
“A Pah-Ute Girl”
Line etching with drypoint, printed in black ink on light tan Japan paper (second state)
Signed: “T.Moran” in pencil (lower left), also inscribed: “Miss C F Gordon Cumming with regards of Thomas Moran”, in pencil on a separate sheet once attached to the original mount
Inscribed in plate: Ku-Ra-Tu / A Pah-Ute-Girl / TMoran (upper left), indistinctly dated 1879 (lower left).
The boundaries of the platemark are not obvious on this impression
Note: Klackner 8. A Pah-Ute Girl. 1878. from a sketch made by the artist in Southern Utah. Never before printed. After a photograph by the German-born American photographer John K. Hillers (1843-1925). Moran helped pose the figure for the Hiller’s photograph.
Ref: The Prints of Thomas Moran In The Thomas Gilcrease Institute Of American History And Art. Catalogue: Page 78. No.17. A Catalogue of The Complete Etched Works of Thomas Moran, N.A. and Mary Nimmo Moran, S.P.E. Produced for the exhibition held at the Klackner Gallery, March 1889, New York. No.8.
“The Empty Cradle”
Toned line etching, printed in brown ink with retroussage on white wove paper. Wide margin with some ink smudges
Inscribed in pencil: “The Empty Cradle” (beneath platemark) “Miss C F Gordon Cumming with regard of Thomas Moran” (bottom of sheet)
Inscribed in plate: “TM 1880” (lower left)
Note: Klackner 9, The Empty Cradle. 1878. The etching depicts a Pah-Ute woman mourning at the cradle of her dead baby. From a photograph from life made by the etcher in Utah. John K. Hillers (1843-1925) made the photograph in Arizona and Moran helped to pose the figure.
Ref: The Prints of Thomas Moran In The Thomas Gilcrease Institute Of American History And Art. Catalogue: Page 80. No.18. A Catalogue of The Complete Etched Works of Thomas Moran, N.A. and Mary Nimmo Moran, S.P.E. Produced for the exhibition held at the Klackner Gallery, March 1889, New York. No.9.
“A Study Of Willows”
Line etching, with selective wiping, warm brown ink on thin laid paper with narrow margin.
Signed in pencil: “T.Moran” (lower left)
Inscribed in plate: “TM” (lower left & lower right)
Note: Klackner 12, A Study Of Willows. 1879. Etched from a sketch from nature. Printed with a tone for cloud effects. This print was the frontispiece for the Klackner catalogue.
Ref: The Prints of Thomas Moran In The Thomas Gilcrease Institute Of American History And Art. Catalogue: Page 85. No.21. A Catalogue of The Complete Etched Works of Thomas Moran, N.A. and Mary Nimmo Moran, S.P.E. Produced for the exhibition held at the Klackner Gallery, March 1889, New York. No.12.
